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Luciano Botelho

Tenor

Luciano Botelho succeeds in acting the brute while singing with smooth elegance as Elvino

Financial Times

Luciano Botelho as her suitor Ramiro confirmed that he has the makings of a front-ranking bel canto tenor.

The Daily Telegraph

The Brazilian tenor Luciano Botelho is in astonishing condition... And the amazing flexibility with which he uses the falsetto in the upper register, demonstrates he is a master of bel canto technique...

London-based Brazilian tenor, Luciano Botelho, begins the 2014-15 Season in the challenging role of Ruodi the Fisherman in Welsh National Opera’s new production of Guillaume Tell while at the same time covering Osride Mose in Egitto.

Recent successes include his appearance in Sydney at Opera Australia in his house and role debut as Narciso Il Turco in Italia, his role debut as il DucaRigoletto at Opera de Rennes, and his debut as Giacomo La Donna del Lago at Grand Théâtre de Genêve with Joyce diDonato, a role he later revived in a new production at Theater an der Wien. Mr Botelho appeared as Almaviva Il Barbiere di Siviglia at the Royal Opera House Covent Garden and in Japan at Tokyo’s New National Theatre, and sang the role of Don RamiroLa Cenerentola –a role now at the centre of his repertoire—at Opéra de Massy, for Glyndebourne Touring Opera and at Malmo Opera.

In Germany, Mr Botelho made his debut at Oper Koeln as Leicester Maria Stuarda and he appears regularly in Stuttgart, most recently as Elvino in Staatstheater Stuttgart’s acclaimed production of La Sonnambula, which was commercially released on DVD; there he previously inaugurated the role of Orpheé Orpheé et Euridice in a production that was highly lauded and is frequently revived.

Other highlights include his Covent Garden debut as the Intendante Linda di Chamonix in performances recorded by Opera Rara. He appeared under the baton of Jean-Christophe Spinosi at Théâtre du Châtelet in Paris in the role of Flavio Norma, followed by his Salzburg Festival debut in the same role with Joyce diDonato and Edita Gruberova. He appeared at Opéra Dijon as NemorinoL’Elisir d’Amore and as Fenton Falstaff in a new production at Opera de Nantes/Angers which also travelled to Rennes.

Luciano Botelho’s first professional appearance on the operatic stage took place in his home country, Brasil, in 2001 as TaminoDie Zauberflöte in the Amazonas Opera Festival; he also sang Don OttavioDon Giovanni, Ramiro and Il Conte Almaviva, and went on to receive critical acclaim for his performances of Fadinard in Rota’s Il Cappello di Paglia di Firenze, and Le Berger Oedipus Rex.

Mr Botelho graduated with a degree in music from the University of Rio, and completed a postgraduate diploma in vocal studies and the opera programme at the Guildhall School of Music and Drama in London. He later graduated from the Cardiff Academy of Voice under the guidance of Dennis O’Neill, and participated in the 2007 BBC Cardiff Singer of the World Competition.

Rigoletto, Opera Theatre Company IrelandMay 2015

In Luciano Botelho there is an efficient, heartless Duke, who shows a cruel blend of vocal appeal and reprehensible behavior.

Michael Dervan, The Irish Times

I found the singing to be of a high quality, with the main characters - ... and Botelho, particularly outstanding. ... I suppose it is somewhat unfair to expect a performer to be a wonderful opera singer and an equally wonderful actor. Botelho, however, did very well in both categories as the epitome of vanity.

Sean Hillen, Examiner

Even stripped to his blue briefs, Luciano Botelho is the clear-voiced swaggering braggart Duke.

Smaller roles were all well taken, especially Luciano Botelho (last-minute luxury casting for the brief but exquisitely drawn role of Ruodi the fisherman in Act One).

Mark Valencia, What's On Stage

Rigoletto, Opera de RennesMay 2014

The Brazilian tenor Luciano Botelho, in the role of the Duke of Mantua, immediately showed real vocal qualities and displayed a personality of beautiful convincing authority.

Thierry Martin, Unidivers

We were able to applaud the steadfast Duke of Luciano Botelho, who combined sensitivity and versatility.

Gilles Charlassier, ConcertoNet

Il Turco in Italia, Opera AustraliaJanuary 2014

Brazilian Luciano Botelho as the ineffectual lover who spends much of the evening changing clothes, has a light, clear voice, but one streaked with highly promising colour.

Peter McCallum, The Sydney Morning Herald

The other overseas visitor in the cast is the Brazilian Luciano Botelho as Geronio’s duplicitous ‘friend’ Narciso. Given that the role is eminently surplus to plot requirements, it’s a credit to him that he brings the house down with his second act aria in which, confined to a bathing hut, he drops his pants, deodorises and changes into an Elvis suit (don’t ask – it leads to one of the funniest moments in the show later on…).”

Clive Paget, Limelight

Botelho [has] an attractive voice.

Opera Magazine

Anna Bolena, Oper KoelnFebruary 2013

Luciano Botelho was wonderfully touching in the tenor role of Lord Riccardo Percy. Differentiating well the various layers of the role alternatively, his singing is natural, the sound well-mastered, and flawless top notes.

Michael S. Zerban, Opernnetz

The singers’ performances of the evening are impressive. The Brazilian tenor Luciano Botelho is in astonishing condition. As Percy, he holds the raging passion of this romantic opera hero from beginning to end. And the amazing flexibility with which he uses the falsetto in the upper register, demonstrates he is a master of bel canto technique, the typical Donizetti blend of lyrical smoothness and dramatic power flowing into a single vocal line

Ulrike Gondorf, Deutschlandradio Kultur

La Sonnambula, Stuttgart OperaJanuary 2012

Luciano Botelho succeeds in acting the brute while singing with smooth elegance as Elvino.

Shirley Apthorp, Financial Times

Luciano Botelho, the lightweight Brazilian tenor who already starred as Stuttgart's Orphée (in the French version of Gluck's opera), managed rather handsomely in Elvino's stratospheric flights of fancy.

Horst Koegler, Opera

Amina’s groom, Elvino, is viewed by the stage director as an adolescent lightweight so that the slim, beautifully resonant tenor voice of Luciano Botelho was very well suited, also in his acting he portrays well the lanky fellow.

Gerhard Dörr, Opernfreund

And Luciano Botelho is the silky tenor and rich husband Elvino: uncertain in his being and thus prone to spurning - the way a man is.

Falstaff, Nantes Angers OpéraMarch 2011

La Cenerentola, GlyndebourneOctober 2010

Luciano Botelho as her suitor Ramiro confirmed that he has the makings of a front-ranking bel canto tenor.

Rupert Christiansen, The Daily Telegraph

Don Ramiro also has some showpiece arias, and Luciano Botelho carries these off with ease; his study of the prince suggests a young man just growing into emotional as well as intellectual maturity

Anne-Morley Priestman, WhatsonStage

Luciano Botelho sings the role of Don Ramiro with crystal clear, firm and confident voice, producing beautiful high notes.

James Estapà, Opera Actual

Norma, Salzburg FestivalAugust 2010

Let’s also point out […] two excellent compimari; Ezgi Kutlu […], and Luciano Botelho, a Flavio in whom we can already sense a growing Pollione.

Placido Carrerotti, Forum Opera

Maria di Rohan, Caramoor International Music FestivalJuly 2010

Chalais was sung by the Brazilian tenor Luciano Botelho. He displayed a beautiful lyrical tenor voice […], he was quite effective in the tender love duets with Maria.

Lewis M. Schneider, Seen and Heard International

Lewis M. Schneider, Seen and Heard International

Vivien Schweitzer, New York Times

The role of Chalais was sung by Luciano Botelho, a young tenor who – to judge by this performance – has a very bright future ahead of him. The audience was as smitten as Maria from the moment he strode onto the stage to deliver his first aria. Botelho has a bright, clarion lyric tenor voice; a bit on the small side, but agile and under complete control – I couldn’t resist fantasizing his re-creating some of the forgotten Rubini roles. His technique is simply terrific, his approach to singing restrained yet passionate. This is a tenor who doesn’t need to belt every note – and Botelho has them up to d-flat. However, when he partnered with Scott Bearden’s enormous baritone, the voice was clear and bright enough to hold its own.